Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Thursday 12 March 2020
Identity, Turbine Theatre | Review
Identity
Turbine Theatre
Reviewed on Wednesday 11th March 2020 by Olivia Mitchell
★★★★
Described as a "controversial and captivating masterpiece", Identity endeavours to showcase "society's negative perceptions" and highlight that being true to yourself and owning your insecurities is a way to thrive. With the constant pressures perpetually hurled at us via social media, as well as those around us, it's always important to be reminded that we're not alone in our struggles. This show certainly does that, and it's exciting and innovative in its approach.
Caitlin Elizabeth Taylor opens the piece by battling with a Polaroid camera, continually reaching and then drawing herself away from it. It's from this moment that her battle between hiding and owning her identity begins. Having composed some of the music and spoken word, it's clear from Caitlin's fierce performance that this piece is special to her. She boldly throws herself around and strikes a great balance between aggressive stress and introspective peace.
Whilst Caitlin does an excellent job of leading the show, it's during the ensemble (made up of Callum Sterling, Tinovimbanashe Sibanda, Marina Climent and Luke Cartwright) moments when it really comes to life. The interpretive and super sharp dance numbers are effective and emotive, even if they are a little aloof at times. Visually the way they pulse and leap around stage is exciting, but the use of sound adds another layer. It isn't just the movement that's synchronised but every breath feels as though it's coming from one entity. Equally, this unison makes the moments where the ensemble fall out, even more effective. Christopher Tendai has done a great job of incorporating contemporary dance, with Afro beats to create something which looks and feels stirring.
As well as Caitlin's music, the motion is also accompanied by the incredibly soulful sounds of Sam.G (aka Shekinah Mcfarlane). Her beautifully expressive music is evocative by itself, but when combined with the choreography, a really strong narrative is created.
Over an hour, we are taken on a journey of discovery. This piece finds a solid middle-ground between in your face expression and pared back simplicity. This is in part, thanks to Charlotte McAdam's lighting which is effective throughout; especially during striking strobe light moments where Caitlin's character contorts against the black backdrop.
Thanks to the killer cast and evident love for the work which is engrained in every moment, this is a great show to experience purely to start up a new conversation about being you. A very promising production, Identity is sure to fire up anyone who watches it and would be a great piece to showcase in schools as a subtle reminder to be a little kinder.
Thursday 5 March 2020
The Last Five Years, Southwark Playhouse | Review
The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell
★★★★
Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.
This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story.
Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.
As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey.
Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.
With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.
The Last Five Years plays at the Southwark Playhouse until 28th March
photo credit: Pamela Raith
Thursday 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
Monday 24 February 2020
Zorro, Cadogan Hall | Review
Zorro
Cadogan Hall
Reviewed on Sunday 23rd February 2020 by Olivia Mitchell
★★★★
Fiery, Latin, wacky, soulful and brilliant, Zorro made a triumphant return to London last night, 12 years after its West End premiere. The story of Diego De La Vega who becomes the illusive Fox aka Zorro, to save his town from the tyrannical reign of his childhood friend Ramon, is the classic good vs evil that can't help but invest you with its sincerity and heart of gold. Add to this a score by the Gipsy Kings and a fantastic cast and you've got a great night on your hands.
The plot is wafer thin but in this concert setting, we really had the chance to go beyond that to focus on the fantastic Spanish music and the wonderful characterisation from the whole cast. Even in a full setting, I would imagine that the self-awareness of this show, means you can pretty much overlook the plot faults and just enjoy it for what it is- a heap of fun! There are many 'deep' moments peppered throughout the production, but they're equally balanced with camp humour and wit which lighten the tone and allow us to go on a pretty much carefree journey.
Ricardo Afonso was incredibly convincing and powerful as Zorro/Diego, giving a completely marvellous vocal performance and enrapturing the audience of Cadogan Hall. Delightfully tongue in cheek, with a great balance of sincerity, swagger and playfulness, there's not much more you could ask for from the debonair hero. In great contrast, Robert Tripolino was truly evil as the rapacious ruler Ramon and completely commanded the stage in every moment. Zubin Varla and Jo Parsons, gave solid performances and it's just a shame we didn't get the chance to see and hear more from them.
The love interest Luisa was performed with tenderness by Emma Williams, who revived her West End role and showcased her vocal dexterity, namely in her touching rendition of The Man Behind the Mask.
Also reviving her (Olivier Award Winning) role, was Lesli Margherita who deservedly garnered much applause as the vivacious, smouldering gypsy Inez. Lesli's rendition of Bamboleo will be a memorable moment for everyone at Cadogan Hall and we can only hope she'll be back on London soil soon!
Under the baton of Freddie Tapner, the LMTO orchestra brought vibrant energy to the Hall, with exceptional guitar and percussion woven throughout the entire score. The foot stomping music was fully realised thanks to Paul Smith's sound design which was wonderfully balanced and showcased every single performer and musician brilliantly.
Entertaining and enthusiastic, Zorro was a perfect way to spend a Sunday. Hopefully the rapturous reception is enough to bring this musical back to London very soon. Viva el Zorro!
photo credit: Darren Bell
photo credit: Darren Bell
The Pirate Queen, London Coliseum | Review
The Pirate Queen (Concert)
London Coliseum
Reviewed on Sunday 23rd February 2020 by Hope Priddle
★★★★
The Pirate Queen sailed into the London Coliseum for a one off charity concert in aid of Leukaemia UK. Set in 16th Century Ireland, Boublil and Schönberg's musical tells the real life story of fearless mariner Grace O’Malley as she embarks upon a heroic struggle to defend her homeland from English rule. A tale of politics and passion, The Pirate Queen is an inspiring story of one woman’s efforts to determine her own destiny in a world run by men.
Rachel Tucker shines in the titular role. Tucker is feisty and fearless, perfectly capturing O’Malley’s youthful optimism in the opening scenes of Act 1. Her voice soars across the auditorium as she performs Woman. Likewise, Tucker beautifully explores O’Malley’s tender side as a mother, daughter and lover. The intimate duets she shares with Jai McDowall as sweetheart Tiernan and Father Dubhdara, played powerfully by Earl Carpenter, are highly moving.
Hannah Waddingham had a hard task playing Queen Elizabeth I, an imperious foil to Tucker’s spirited O’Malley. However, she undoubtedly excelled in this role. Waddingham was poised and dignified, commanding every scene with her impressive operatic prowess.
Daniel Boys provided excellent comedic relief as the unfoundedly arrogant and hapless Lord Bingham, one of two antagonists alongside Grace’s husband and eventual betrayer Donal, played by the terrific Matt Pagan.
It is however, Jai McDowall as Tiernan who steals the show with his rendition of I’ll Be There. He is endearing and charismatic as O’Malley’s sweetheart who proves his unconditional love for his Pirate Queen on more than one occasion.
The ensemble and choir are vocally assured and provide some beautiful harmonies. They are best showcased in a rousing rendition of Sail to the Stars which brings the first act to a swelling crescendo.
Special plaudits must also go to choreographer Jack Ludwig, who’s sharp and spritely Irish dance numbers inject the piece with joyful energy.
Technical elements work together to elevate this semi-staged production, despite a few niggles with mics early on. Lighting and visuals by Ben Rogers are simple yet effective. Painterly illustrations depicting the Irish Coast and English Royal Court provide a pleasing backdrop, while the use of coloured lighting seamlessly signals a shift between land and sea. A single purple spotlight shone upon Elizabeth and Grace as they converse in Act 2 was an especially nice touch; this royal hue indicated a meeting of two equals, both noble in character if not in title.
Fran Levin’s costumes are timely and sympathetic, yet mostly modest. Hannah Waddingham is an exception here; she looks suitably regal in Elizabeth’s embellished gown towering over O Malley’s boyish and diminutive frame.
Though the performances are indeed outstanding, the score so often borrows melodies from Les Misérables and Miss Saigon that it becomes somewhat predictable. Boys’ll be Boys is a fun but ultimately trifling homage to Master of the House. In short, unashamedly familiar tunes followed by unfamiliar lyrics resulted in an effect which was at times jarring.
While audiences may find this musical too repetitive to work as a fully realised production, The Pirate Queen provided an evening of outstanding vocal talent and swashbuckling storytelling.
photo credit: Earl Carpenter
Thursday 13 February 2020
Lesli Margherita on Bringing Zorro Back to London for One Night Only | Interview
The musical version of Zorro premiered in the West End in 2008. With a score by the Gipsy Kings, it tells the good versus evil tale of the legendary hero Zorro. In it's first London performance since closing, the musical will be performed as a staged concert at Cadogan Hall this month.
Lesli Margherita, who starred in the original workshops and West End production, will be reprising her Olivier Award winning role as Inez at this concert. Lesli sat down with Rewrite This Story to discuss bringing the show back to London, her advice for performers and the lowdown on her other musical, Emojiland...
Lesli Margherita, who starred in the original workshops and West End production, will be reprising her Olivier Award winning role as Inez at this concert. Lesli sat down with Rewrite This Story to discuss bringing the show back to London, her advice for performers and the lowdown on her other musical, Emojiland...
You are the Queen of self branding, do you have any advice for performers wanting to create their own space in the industry?
I didn’t try to brand, and I think that's probably the most important thing. This all came out my family calling me queen and being a kid writing ‘Lesli Rules’ on everything. So, the best thing for branding is just being yourself. I think I’m authentically myself and I share the good parts and the bad parts of me, and I think that’s maybe what people or kids have kind of gravitated to. Yeah, so the best thing is to just be yourself, people can tell fake branding from a mile away. This totally happened by accident!
You’ve returned to a few musicals with Mrs Wormwood and now Inez, what’s that like? Do you set out to change parts or just go with the process and see what happens?
I think naturally it’s gonna change, because I’ve changed. It’s inherent that it will change, especially with something like Zorro because I spent so many years on it before the West End, and then I changed it during the West End and then even after that I did a few versions of it. Even just listening to the recording now I’m like “why did I do that?!” so that’s gonna change. And with Matilda there were little things that I’d always wanted to change and I think it’s great to leave something alone for a little while and see what happens.
Do you think because this is a concert version, you’ll have more space to alter things and play around a bit?
Totally yeah. I would love to do a full version to see how it would be different but I think with this the focus is really on the music which is exciting!
You’ve got such an amazing cast to perform it as well!
I know! I’m so excited! I’m really excited to perform with Emma [Williams] again, it’s going to be so nice
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| The cast of Zorro in concert at Cadogan Hall |
Since you’ve found out you’ll be doing the show again, is there a particular song you’re excited to sing once more?
Every time I get to do Bamboleo I’m happy- it’s my favourite. I never get tired of it, even when the actual Gipsy Kings version comes on on my ipod I never skip it cause it’s just so good.
Well hopefully we’ll get an updated recording soon, after this maybe it’s time for West End and Olivier number two!?
Oh I mean I would love that. I’d really really love it to come back- hopefully soon!
Can you sum up the show in five words?
Romantic, adventuresome, electric, uplifting and swashbuckling!
Aside from Zorro, you’re working on Emojiland, tell us a little about the show
It sounds crazy! It sounds like it’s gonna be a dumb show but it’s not! It’s about a bunch of emojis living in a phone and what happens after an update is implemented and a bunch of different emojis come in. It’s really about not looking at things for face value and seeing what’s behind the face, and seeing that just because that’s how someone looks, it might not be how they’re feeling. It also gets a little political, it’s about not wanting change, not wanting different types of people or emojis going into their land; it’s really got so much heart.
I did it first at a festival two years ago here in New York, kind of as a bare bones version and when I found out they were doing it off-Broadway as a full production I couldn’t wait to be a part of it, I love it so much.
It’ll be nice when people can hear the recording that comes out in a couple of weeks, because the songs are amazing and it really is so touching and funny, but also meaningful which people aren’t expecting cause it’s called Emojiland!
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| Lesli Margherita in "Emojiland." (Photo: Jeremy Daniel) |
Yeah, I mean when I first heard about it I was a bit on the fence but everyone says it’s amazing!
Exactly! That’s kind of what we’re counting on. We’re counting on getting people in there and then them changing their minds because that’s what always happens. People come and say it really wasn’t what they expected and they really enjoyed it!
So you’re obviously a very busy lady with all your shows and travelling, do you have any advice for looking after your voice when it’s under pressure?
Really it’s the same stuff that everybody tells you. It’s the steaming and the rest and all the things you can never do. I never have time to rest, I never have time to steam but they’re the things you’re supposed to do and I really think that they’re important. Also, overall general care of yourself at all times, so that even when you don’t have time, your body is in good condition. It’s just a constant sort of upkeep.
I also think that the foundations and training are so important. I rely on my training so much when my voice is tired. Especially when I was dong Matilda because that role is so difficult vocally and while you’re dancing and screaming, so I really relied on my training and on the vocal team there at Matilda to keep me in shape and healthy.
I think it’s a lot of common sense, don’t go out drinking late at night and try and get some rest!
Mrs Wormwood is a very shrieky role, it must’ve been hard!
Well we worked on it so it was really a mix, it sounded screechy but it was just a mix. My mix has never been stronger than when I was in Matilda! It was really interesting trying to find that place and it never hurt once. It’s really difficult to explain to somebody though, there are all these high schoolers and stuff doing it and losing their voices and I just say “don’t scream!”
I saw your panel at BroadwayCon a few years ago and you mentioned wanting to return to the role of Inez which is happening now, so I just wondered if you have any other dream roles you’d like to put out into the universe?
I’ve been really lucky with the shows I‘ve gotten to do around the country here, but every time I’ve played Adelaide in Guys and Dolls I’ve loved it so it would be great to be able to play her again.
I’d also love to do Evita, and I really want American audiences to get to see Zorro so I hope that’ll happen someday soon!
A huge, thank you to Lesli for taking the time to chat with us. Zorro plays at Cadogan Hall on 23 February for one night only!
Interview by Olivia Mitchell
Tuesday 11 February 2020
Five Reasons To See Once the Musical
A beautiful, heartfelt story of an unlikely friendship between a Dublin busker and a Czech musician, we present five reasons why you should see Once on it's current UK tour...
The Pre-Show
Before the show even begins, Once offers a unique experience and welcoming atmosphere as the audience enter the theatre. The fantastic cast made up of actor-musos (more on that later) are performing a number of joyous Irish songs as if in a local Dublin pub. I particularly enjoy The Auld Triangle which Susannah van den Berg leads wonderfully. Also worth mentioning is the seamless transition from the lively pre-show tunes, to the haunting opener Leave, which settles the audience and paves the way for the journey of Once.
It's Surprisingly Funny
When I first saw this show, I didn't expect to laugh as much as I did. From the start there is a warm humour that feels (mostly) natural and realistic. Little giggles between the cast as they bounce off one another are enjoyable to watch, as are the jokes between Guy and Girl. From their first interaction, the pair (Daniel Healy and Emma Lucia) have an engaging relationship full of banter, sarcasm and honesty that's endearing to watch and brings light to the sometimes deep emotional moments.
Emma Lucia's Accent
Yes, this is an unconventional reason to see a show, but I was so impressed by Emma Lucia's excellent accent that I had to mention it! The combination of Czech with twangs of Dublin mixed in is so excellent. Emma is a magnetic performer, who we instantly warm to. The character of Girl is so optimistic that you can't help but root for her, and Emma brings this gleeful optimism to life fantastically.
The Power of Ensemble
Once is one of the most wonderfully ensemble fuelled pieces I've ever seen. Often the cast move like one entity, all invested in each others stories. These group transitions bring a motion to moments which could otherwise run the risk of falling flat. The reprise of Gold is a truly exceptional moment in musical theatre, as the entire cast come together as if using one breath to sing.
The Musicality
Of course you can't talk about Once without mentioning the music and those that perform it. The folk/rock score is what put the original film firmly on the map, with Falling Slowly becoming a staple on any musical theatre playlist. Not only is Once a love story in terms of romance, but it's also a love letter to music, with every song carefully thought out and performed. It's amazing to hear the folky, Irish, guitar led music, and it's even more impressive to watch it performed live by a cast of actor-musicians. Every cast member is an incredibly talented musician and it's sensational how they are able to tell a story and really engage the audience through music.
Once is currently playing at the New Victoria Theatre until 15 February and then continues its tour
Monday 10 February 2020
Twisted, Trafalgar Studios | Review
Twisted (Concert)
Trafalgar Studios
Reviewed on Sunday 9th February 2020 by Olivia Mitchell
★★★★
There weren't many reasons to leave the house on Sunday, as Storm Ciara battered the UK, but a dose of musical theatre and Disney were certainly two. The latest in Monsteers' concert series, Twisted provided a chance for performers to sing the Disney songs they've always wanted to, as well as those which they wouldn't typically be cast in. This led to an afternoon of uplifting numbers, belting galore and a great escape from mother nature.
Thirteen performers took to the stage to treat us to a selection of (mostly) contemporary songs, ranging from Poor Unfortunate Souls to Hellfire. Each performance brought something special to the stage and offered a chance for stripped back performances celebrating musicality, Disney, Pixar and general theatricality.
Everyone on stage gave top notch performances, with a mixture of upbeat, chilled and full-out stagey numbers. Emily Mae Walker's rendition of Let It Go, Charlotte Anne Steen's Zero To Hero (complete with super fast mic reflexes) and Cameron Burt's Go The Distance were particular standouts among a group of wonderful performers. Gender swapped numbers proved exceedingly entertaining, with Maiya Quansah-Breed's I'll Make a Man Out of You and Grace Mouat's Proud of Your Boy earning huge applause and showing the audience the songs in a different light.
Completing the male line-up were Aran McRae, Lewis Asquith and Christopher Cameron who all gave brilliantly entertaining performances. On the ladies side, it was Lauren Soley's exceptional performance of Tangled's Mother Knows Best that really impressed, as did Jessica Cervi (who stepped in last minute) giving a luminous rendition of Beauty and the Beast. Also stepping up to the plate just the day before was Esme Laudat who's version of Speechless, closed act one in the best way possible. Josie Kemp and Chloe Hazel also gave strong performances with Hazel's Poor Unfortunate Souls a real highlight.
Although the bare, minimalist approach was effective, perhaps future concerts could include some props just to make the fairly large space feel a little more welcoming and less of a 'stand up, sing and go' affair. I did find that occasionally the speakers were a little loud and the lighting somewhat abrupt, and whilst these issues did not detract from the performances, they are things which could be tweaked to step the next concert up a level.
Twisted was a great way to spend a Sunday and I'd certainly recommend booking future Monsteers concerts. Great songs, a fab theme and an outstanding band led by the incomparable Steve Corley made for a thoroughly entertaining afternoon.
Thursday 23 January 2020
Sex/Crime, Soho Theatre | Review
Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.
Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.
It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.
SEX/CRIME runs at the SOHO Theatre until 1st February 2020
photo credit: Matt Spike
Wednesday 22 January 2020
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Tuesday 21st January 2020 by Olivia Mitchell
★★★★
Flying into its third year in the West End, Everybody's Talking About Jamie retains its giant heart and remains an inspiring, colourful, hilarious and all round joyous musical. Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New has to face those who oppose him and try to pull him down, so he can achieve his dreams and show the people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to retain its spot in theatre lovers hearts for the foreseeable future.
In his West End and indeed, professional debut, Noah Thomas brings every aspect of leading man, Jamie New, to life with an ease that is truthful to the story but feels just polished enough. Opening with the incredibly catchy 'And You Don't Even Know It', Noah immediately shows us who Jamie is as he transforms the stage into a world of colour and begins the journey which will shape his life. From there on in his entire performance is joyous to experience. With charm in spades and glorious vocals, Noah continually exudes life and never falters throughout his time on stage.
As Jamie's mum, Melissa Jacques is beautifully vulnerable, and draws huge amounts of empathy from the audience as she does all she can to be the best mum to her beloved son. Jacques' vocal performance is that of a powerhouse, with 'He's My Boy' providing an emotional high-point that wows the audience. The chemistry between Jamie and his mum is lovely to see, as is the truthful friendship of Jamie and and his best friend, Pritti.
Both misunderstood and outsiders in their own ways, the pair continually find common ground and support one another. It's wonderful to see such a supportive and non-toxic friendship played out on stage. As Pritti, Hiba Elchikhe is delightfully moving and vocally exceptional, especially in the act two ballad, 'It Means Beautiful'. Just as Pritti's bedroom sparkles, Hiba gives a glittering performance and makes a sensational West End debut.
Roy Haylock/Bianca Del Rio as Hugo/Loco Chanelle is highly entertaining. Compared to the rest of the cast, his vocals are not consistently top notch but the energy and commitment he performs with mostly make up for that and it's a real treat to see such a widely recognised drag star on a West End stage.
As the rapping teacher Miss Hedge, Preeya Kalidas is vocally strong. The character herself is a little jarring at times as she flits between being an enforcer of reality and a restricter of freedom. It's sometimes confusing as it's unclear whether she's a villain or just someone trying to help. Perhaps that's the whole point!
Sejal Keshwala is completely ballsy in her performance as Ray and wins over the audience in a matter of moments. Also giving a hugely strong and highly assured performance is Jordan Ricketts as the school bully and Jamie's tormentor Dean Paxton. The entire cast are the embodiment of joy and perfectly evoke the feelings of school life. Katie Prince's choreography excellently brings to life the often frenetic atmosphere of Jamie's life and is fresh and exciting to watch.
This is a musical which inspires us all to own what makes us 'different' and is just a lovely portrayal of family, friendship and acceptance. Contemporary, sassy and so very British, lets keep talking about Jamie!
photo credit: Matt Crockett
Thursday 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
Friday 10 January 2020
Once (UK Tour), Fairfield Halls | Review
Once (UK Tour)
Fairfield Halls
Reviewed on Thursday 9th January 2020 by Olivia Mitchell
★★★★★
Embarking on a UK tour, Once tells the story of Girl meeting Guy. He, is a Dublin busker on the brink of walking away from music after having his heart broken and feeling unheard in a bustling world; whilst, she is a force for change who exudes positivity from the moment their worlds collide. In the space of a few days, their lives become beautifully connected and changed forever. The musical is an evocative piece, which slowly creeps up on you to warm, break and soothe your heart in equal measures. It's a love letter to music and identity that deserves to be seen and heard.
Emma Lucia is a certified star as Girl, as she gives an assured performance, filled with warmth, vulnerability, encouragement and love. Girl is married to an unseen man who walked out on her, and has a daughter who has her heart. Lucia's incredibly truthful performance is outstanding from start to finish, as are her vocals which ring out with a clarity and strength that utterly absorbs the audience. Alongside her, Daniel Healy is perfect as Guy. His angst fuelled performance of Leave opens the show with the grit, intensity and honesty which courses through it until the end. Healy's musical performances are highly impressive as he shows exceptional vocal control.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The audience can't hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate. Of course this a show about music, but what's even more magical is how spectacularly the entire team make the most out of silence. Each pause feels completely natural but intentional at once as an atmosphere like no other is formed. This is a complete delight of a musical that must be experienced. It's not jazz hands and drama, but instead, is melancholic, unashamedly romantic and wholeheartedly wonderful.
Details about the Once Tour can be found here
photo credit: Mark Senior
Details about the Once Tour can be found here
photo credit: Mark Senior
Friday 13 December 2019
Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review
Snow White and the Seven Dwarfs (Panto)
Richmond Theatre
Reviewed on Thursday 12th December 2019 by Nicola Louise
★★★★
It seems like yesterday I was sent to review my first pantomime, but here we are again a year later. This time its Snow White at Richmond Theatre where the stars are big and -evident from the multitude of advertising and glitzy theatrical splendour- so is the budget!
We all know the story of Show White and how she was ordered to die at the hands of her evil stepmother; and this story is no different even if it does start a little unusually. Prince Harry arrives at the palace where Snow White is due to celebrate her 21st birthday, as childhood sweethearts they’re drawn to each other once again after having been apart for so long.
James Darch is great as the charming Prince Harry, with a pantomime hero look about him. Mia Starbuck is as sweet as Snow White can be, with her flowing black hair and porcelain skin she glows with beauty and shines when she sings. Panto’s by nature are a bit cheesy, especially with the panto prince, however, this isn't the case with Richmond’s production. Both Snow and Harry are not your typical panto hero’s, some may say this won’t do but as a lover of panto’s for many years, I felt this gives it an edge above the others.
Jason Sutton as the dame is as funny as ever, along with John Clegg as played Muddles, the son. The pair are a great double act who bounce off each other with chemistry that sparks on stage.
Some may remember Clegg from Britain’s Got Talent where he wow’d audiences with his talent for impressions and it isn’t hard to see why. Clegg's rendition of ‘You’ve Got a Friend in Me’ where he portrays a range of different characters is something I did not expect, and is an excellent moment in the production.
Each year Richmond has a big name to draw people in to it's festive offering, this year its Jo Brand as the evil Queen Lucretia. As funny as she is, her incredibly dry humour often feel misplaced within the tone of this panto. However, Brand's ‘I don’t care’ attitude brings something new to the show and is certainly entertaining. The director and producers have clearly worked around Brand's lack of singing talent and focused more on her wit, a stellar choice on their part.
Like all Pantos, there's a mish mash of popular music, in this case Ed Sheeran amongst others. Some songs seem out of place and a bit cliché, as if the writers are trying to reach out to the teenagers in the crowd, so to say ‘look, we’re hip as well’.
With a talented bunch of actors and great performances from the 7 men who portrayed the Dwarfs, (this year Richmond opted for tall actors rather than go for actual Dwarfs), this show protrudes enough sweetness and glitter than you can shake a stick at.
Fun for all the family and even the little ones get involved at the end.
Snow White and the Seven Dwarfs is running at Richmond Theatre until Sunday 5th January 2020
photo credit: Craig Sugden
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